|
b. 44
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
The slur over the bass motif was most probably added in GC (→GE) by Chopin, together with the category imprint: Differences between sources issues: EE revisions , Authentic corrections in GC |
||||||
|
b. 44-48
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
In bars 44 and 48 FE1 has no naturals before the 2nd crotchet. A double mistake of the engraver is proved by the flats before the last notes in these bars. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
||||||
|
b. 45
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
In the main text we include the category imprint: Differences between sources; Editorial revisions issues: No pedal release mark |
||||||
|
b. 45-46
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
Both versions were created directly on the basis of the notation of [A], hence, unless the notation was unclear, one of the versions is most probably erroneous. To the main text we choose the version of GC, which is devoid of gaps in phrasing. On the other hand, the difference between the versions could have been caused by the ambiguity of the notation of [A] (caused by, e.g. corrections). In such a situation, both GC and FE may correctly convey certain aspects of this notation, which leads to our alternative suggestion, which combines the completeness of the slurring of GC with the continuity of the slur of FE. category imprint: Differences between sources issues: Inaccuracies in FE , EE inaccuracies |
||||||
|
b. 45
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
In FE1 there is no arpeggio sign at the beginning of the bar. It is certainly caused by the engraver's distraction. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
hairpins in bars 43-44 and 46. On the basis of 
in 
] suggested by the editors
